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Posts Tagged ‘Second’

Nikon Z6 II and Z7 II boast dual processors and gain a second card slot

14 Oct

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Nikon has updated its full-frame mirrorless Z series with two second-gen camera bodies: the Z6 II and Z7 II. Both will offer dual Expeed 6 processors to boost buffer performance and top continuous shooting speeds, and each camera gains a second UHS-II SD card slot to complement the existing CFexpress/XQD slot. They’re scheduled to arrive at the end of this year.

With the additional processing power, the Z7 II can shoot at up to 10 fps (compared to 9 fps in the Z7) and the Z6 II shoots at up to 14 fps (up from 12 fps in the Z6). Each camera’s buffer capacity is improved substantially as well: in the Z7 II’s case it can capture around three times as many images as the Z7. Maximum frame rate for internally recorded 4K gets a boost to 60p; a feature that will be included in the Z7 II when it ships, but will come to the Z6 II in an early 2021 firmware update.

Each camera gains a second UHS-II SD card slot to complement the existing CFexpress/XQD slot

Autofocus gets an update with better low light subject acquisition and Eye/Face detection added as an option in Wide area mode. The Z6 II and Z7 II will also offer Eye and Animal detection AF while shooting video.

A new MB-N11 vertical battery grip offers controls for shooting in portrait orientation, with a battery chamber that allows for hot swapping. Both cameras can also be powered as well as charged via USB-C.

The Nikon Z6 II and Z7 II will ship in November and December 2020, respectively. The Z7 II will sell for $ 3000 body-only or $ 3600 kitted with the Nikkor Z 24-70mm F4. The Z6 II will be priced at $ 2000 body-only or $ 2600 with Z 24-70mm F4. The MB-N11 battery pack will go on sale in November 2020 for $ 400.

Press release

THE NEXT CHAPTER OF Z IS HERE: NIKON DELIVERS MORE OF EVERYTHING WITH THE NEW Z 7II AND Z 6II FULL-FRAME MIRRORLESS CAMERAS

The High-Resolution, High Performance Z 7II and the Versatile, Multimedia Powerhouse Z 6II Offer More Innovation, Power, Speed and Precision to Step into a New Era of Creative Freedom

MELVILLE, NY (October 14, 2020) – Today, Nikon Inc. unveiled the next chapter of the Z series with the arrival of two new full-frame mirrorless cameras that significantly improve upon the previous generation by adding more power, more features and more of what users want. The ultra-high-resolution Z 7II is for those with an eye for impeccable details, offering professionals and advanced photographers a powerful tool to capture immense resolution in every shot. For dynamic creators who need a device as versatile as they are, the Z 6II balances powerful performance and an expert-level multimedia feature set to bring any creative vision to life. Together, the Z 7II and Z 6II, along with new accessories, expand the Z series into a more robust mirrorless platform, incorporating many performance and design upgrades while maintaining the most popular features of their award-winning predecessors.

“As we evolve the Nikon Z series into the future, we continue to strengthen the platform, keeping the needs of our customers at the center of every new innovation and added feature,” said Jay Vannatter, Executive Vice President, Nikon Inc. “These are the cameras that many have been waiting for from Nikon. The new Z 7II and Z 6II demonstrate our commitment to listening to customer feedback, while also establishing the new standard for performance, quality and versatility for every type of creator, photographer or filmmaker.”

The Nikon Z Mount – The Most Light Means the Best Images
The Nikon Z mount is larger than any other full-frame mount, letting in significantly more light for the best possible image quality. The wider mount also allows for radical new concepts in optical design, giving lens designers the flexibility to create NIKKOR Z lenses with more edge-to-edge sharpness than ever thought possible. These new cameras expand the possibilities of the superior Z mount with performance upgrades designed to improve the quality, workflow and shooting experience for Nikon Z series users.

New Features and Upgrades: Customer-Focused Innovation Drives Creativity

  • Dual EXPEED 6 Processors for Twice the Power: At the heart of the new Z 7II and Z 6II is the implementation of two EXPEED 6 image processors, turbocharging performance to improve processing speed and increasing burst capability for stills — all while increasing power efficiency.
  • Built for Confidence, Built for Creators: The cameras retain robust weather sealing, user-focused ergonomics and an intuitive interface– distinctions that Nikon users have come to rely on. The new models also offer improvements such as dual memory card slots, with one CFexpress (type B)/XQD slot and one SD card slot (UHS-II), for maximum versatility and peace of mind. Users will also benefit from more power and comfortable vertical shooting with the addition of the optional new MB-N11 battery pack with vertical grip.
  • Enhanced Focus System: With an updated, feature-rich autofocus system, the Z 7II and Z 6II quickly acquire focus and track subjects throughout the frame. For more precise autofocusing, Eye and Face-Detection AF is now available in the Wide-Area AF (L) mode, which works to avoid focusing on distracting elements by isolating selected portions of an image. Additionally, both models have an improved low-light AF detection range that is capable of acquiring subjects in challenging lighting.
  • Advanced Video Capabilities: Expanding the boundaries of 4K UHD video, the Z 7II and Z 6II enhance video output with an increased frame rate of 4K (UHD) 60p, plus Eye-Detection AF mode when recording video. While currently available in the Z 7II, the 4K 60p option is planned to be available in a free firmware upgrade for the Z 6II in February 2021. As a result of pro user feedback, the models also allow users to reverse the focus ring orientation on the fly, benefitting those who are used to manual focusing using traditional cine lenses on set. For added flexibility in post-production, 10-bit N-Log and HDR (HLG)1 output offers more detail, dynamic range and contrast in captured footage, while the optional 12-bit ProRes RAW upgrade2 delivers greater creative control for professionals and advanced videographers.

Nikon Z 7II: Absolute Immersive Masterpiece
The Z 7II promises high-resolution stills and video for discerning users who need ultimate performance to achieve exceptional image quality in every shot. A powerful upgrade to the Nikon Z 7, the Z 7II is the ideal camera for capturing highly detailed portraits, landscapes, weddings, events, and commercial photography when there is no compromise on image quality.

  • The Z 7II features a 45.7-megapixel backside-illuminated (BSI) CMOS sensor to help capture intense detail, ultra-shallow depth of field and clarity that overwhelms. The exceptionally clean native ISO range from ISO 64 to 25,600 offers the functional freedom to shoot at wide apertures in bright light or in-studio with minimal noise.
  • With up to 10 fps maximum shooting speed at full resolution in Continuous H (extended)3, the Z 7II can handle fast burst rates with more than triple (3.3x)4 the buffer capacity of the Z 7 (in 12-bit lossless compressed RAW).
  • The Z 7II’s 493 on-sensor phase-detect autofocus points cover 90 percent of the frame, quickly and accurately acquiring subjects, even at its far edges. The Z 7II is capable of acquiring focus in half the light (as low as -3 EV5), making it the reliable tool for low-light scenes such as weddings and indoor events.

Nikon Z 6II: True Multimedia Powerhouse
The Z 6II is the most versatile Z series camera yet, balancing speed, power, low-light ability, and advanced video features for dynamic creators who need pro-level performance and reliability.

  • Building on the vast pro-caliber video capabilities of the Z 6, the Z 6II is capable of recording 4K UHD video quality with full pixel readout, demonstrating the advantages of mirrorless technology. The camera is capable of a variety of frame rates, including 4K UHD 60p6 with full pixel readout, which is planned to be available in February 2021 via a firmware update. It is also capable of 4K 30p, as well as Full HD 120p for slow motion.
    o Built with videographers in mind, the Z 6II’s AF speed and tracking sensitivity is adjustable to meet creative needs, while the focus ring is also reversible. Useful indicators for focus peaking, zebra stripes and timecodes help capture the best possible footage in-camera and simplify workflow.
    o For both models, 10-bit output to an external recorder with N-Log is possible as well as the capture of new HDR (HLG) video and output in 12-bit ProRes RAW with the optional upgrade. For upgrade customers, additional support will also be included for Blackmagic RAW when using the Blackmagic Design Video Assist 12G HDR recorder. This upgrade will also be provided for existing customers who have already purchased a ProRes RAW upgrade for the Nikon Z 6 or Z 77.
    o The Z 6II and Z 7II are the first Nikon cameras to support Eye-Detection AF and Animal-Detection AF with video recording, enabling continuous focus on the eyes of humans, dogs, and cats.
  • The Z 6II features a 24.5-megapixel BSI CMOS sensor for crisp stills and video capture with impressive detail, ultra-shallow depth of field and impressive low light performance. To confidently shoot in challenging light, the camera has an impressive ISO range from ISO 100–51,200, expandable up to ISO 204,800 equivalent.
  • Thanks to the addition of dual EXPEED 6 Processors, the Z 6II boasts a fast 14 fps3 continuous shooting speed, providing quick performance for capturing action, with more than 3.5x the buffer capacity of the Z 64.
  • The Z 6II’s enhanced AF system features 273 on-sensor phase-detect autofocus points for easy subject acquisition and tracking throughout the frame, including at the edges. Capable of focusing in half the light (down to -4.5 EV5), the Z 6II easily acquires focus in extreme low light scenarios, making it an ideal option for capturing nightscapes and events.

The Nikon Experience: Reliability & Workflow
Both the Z 7II and Z 6II adopt the Z series’ durable Magnesium Alloy build and extensive weather-sealed design for all-around protection in rugged environments. Both models focus on improved workflow with intuitive features and controls that enhance the creative process.

  • The Z 6II and Z 7II enable convenient iMenu access for autofocus modes such as the new Wide-Area AF (L) mode for people or animals, with built-in Eye and Face-Detect autofocus, allowing users to quickly switch between controls while shooting.
  • USB power delivery can be enabled while the cameras are in use, drawing power from the USB source first, to preserve camera battery8 or charging while the camera is turned off (when using the EN-EL15b or EN-EL15c battery).
  • The Z 6II and Z 7II also include in-camera exposure choices for up to 900 seconds for capturing super slow-shutter nighttime cityscapes and astrophotography.
  • Both the Z 6II and Z 7II are compatible with the Nikon Webcam Utility software beta, ensuring seamless webcam functionality for all occasions. When using this function with a USB-C cable, power can be supplied to the camera to power it while using it as a webcam, making turnkey webcam functionality as easy as plugging in a USB-C cable.
  • In addition to its seamless file transfer and remote camera control, the Nikon SnapBridge app can be used to streamline the firmware update process by wirelessly sending the latest firmware file directly to the Z 7II or Z 6II for updating, no card reader or computer necessary.
  • Portions of the information display can be hidden with still-image shooting and video recording, allowing an unobstructed view of the scene.
  • In-camera vibration reduction (VR) provides camera-shake compensation equivalent to 5-stops9.

A Rapidly Expanding Ecosystem
Nikon is committed to expanding the NIKKOR Z lens lineup to complement the exceptional power of these latest mirrorless cameras, with 16 NIKKOR Z lenses currently available, including the recently announced NIKKOR Z 50mm f/1.2 S and 14-24mm f/2.8 S. The lineup will expand to include a total of 24 innovative optics by the end of 2021, providing Z series users with the tools to achieve the highest level of optical excellence.

The ecosystem is also expanding with more accessories, including the addition of the new MB-N11 Power Battery Pack with vertical grip for the Z 6II and Z 7II. This new grip features convenient external controls for additional manual operation and customization, along with more comfortable portrait orientation shooting. While battery life is extended up to 1.9x10 (CIPA standard), the battery grip also includes a hot-swappable chamber, granting users the ability to remove or replace one battery while shooting for uninterrupted power – a true benefit for content creation. The vertical grip also adds a secondary USB-C port for standalone charging and simultaneous communication with other devices.

Additionally, Nikon has announced new wireless transceivers for remote triggering and radio-controlled lighting, the WR-R11a and WR-R11b. The new wireless transceiver units use radio frequencies to communicate and are designed for users who need minimal release lag when shooting wirelessly, or those that use one or more remote flashes (AWL). The user can control additional remote cameras simultaneously using the WR-T10 remote, or via a main camera equipped with the WR-R11a/b. The WR-R11a uses a 10-pin connector, while the WR-R11b connects through the accessory terminal that can be found on Z series mirrorless cameras and select DSLRs. The units can also trigger Nikon radio-controlled flash units, such as the popular SB-5000 Speedlight, without the need for an additional receiver unit. Engineered with a new hinged design, the WR-R11a increases durability when attached to a camera.

Pricing and Availability
The Nikon Z 7II will be available in December 2020 in two configurations, body-only for a suggested retail price (SRP) of $ 2,999.95* and a one-lens kit with the NIKKOR Z 24-70mm f/4 for an SRP of $ 3,599.95*. The Nikon Z 6II will be available in November 2020 and will also be available in two configurations, body-only for an SRP of $ 1,999.95*, and a one-lens kit with the NIKKOR Z 24-70mm f/4 for an SRP of $ 2,599.95*. The MB-N11 Battery Pack with vertical grip will be available in November 2020 for an SRP of $ 399.95. The WR-R11a and WR-R11b (sold separately) will be available in November 2020, and each will have an SRP of $ 199.95 for the controller only. They will also be available as a set including the controller and the WR-T10 wireless remote controller for an SRP of $ 279.95.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
Other trade names mentioned in this document are trademarks or registered trademarks of their respective holders.

1. Footage is recorded only to the external device; it cannot be recorded to the memory card inserted in the camera.
2. The RAW video output function can be enabled by a Nikon service facility for a fee. This firmware upgrade is part of the paid ProRes Raw upgrade. The Atomos Ninja V supports Nikon RAW video output, and records videos in ProRes RAW format. Operation is not guaranteed with recorders other than the Ninja V. On Z 7II, RAW video output is possible only with full-HD videos recorded in the FX-based video format and 4K UHD videos recorded in the DX-based video format.
3. When shooting in Continuous H (extended) using single-point AF, with AF/AE tracking. 12-bit lossless compressed RAW, with a 128GB CFexpress (Type B) memory card.
4. 12-bit lossless compressed RAW, with a 128GB CF express (Type B) memory card
5. Using AF-S at f/2.0, ISO 100 and 20°C/68°F with the center focus point selected in single-point AF area mode
6. With Full-pixel readout, when shot in DX image area
7. Planned for February 2021
8. Requires optional UC-E25 USB cable.
9. Measured in accordance with CIPA standards (using the NIKKOR Z 24-70mm f/4 S at the maximum telephoto position).
10. With an optional battery pack attached with two fully charged EN-EL15c Rechargeable Li-ion batteries. Endurance varies with the condition of the battery, the temperature, the interval between shots, and the length of time menus are displayed.

Nikon Z6 II and Z7 II specifications

  Nikon Z6 II Nikon Z7 II
Price
MSRP $ 1995 (body only), $ 2599 (w/24-70 F4 lens) $ 2999 (body only), $ 3499 (w/24-70 F4 lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6048 x 4024 8256 x 5504
Other resolutions 3936 x 2624 (DX crop), 4016 x 4016 (1:1), 6048 x 3400 (16:9) 5408 x 3600 (DX crop), 6880 x 5504 (5:4), 5504 x 5504 (1:1), 8256 x 4640 (16:9)
Image ratio w:h 1:1, 5:4, 3:2, 16:9
Effective pixels 25 megapixels 46 megapixels
Sensor photo detectors 25 megapixels 47 megapixels
Sensor size Full frame (35.9 x 23.9 mm)
Sensor type BSI-CMOS CMOS
Processor Dual Expeed 6
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-51200 (expands to 50-204800) Auto, 64-25600 (expands to 32-102400)
Boosted ISO (minimum) 50 32
Boosted ISO (maximum) 204800 102400
White balance presets 12
Custom white balance Yes (6 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis
CIPA image stabilization rating 5 stop(s)
Uncompressed format RAW + TIFF RAW
JPEG quality levels Fine, normal, basic
File format
  • JPEG
  • Raw (NEF, 12 or 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom No
Manual focus Yes
Number of focus points 273 493
Lens mount Nikon Z
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3.2
Screen dots 2,100,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.8×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 900 sec 30 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Front-curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync, slow rear-curtain sync, off
Flash X sync speed 1/200 sec
Continuous drive 14.0 fps 10.0 fps
Self-timer Yes (2, 5, 10 or 20 secs)
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 56 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 56 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 28 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 28 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 28 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 60p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 50p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 144 Mbps, MOV, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 144 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 56 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 56 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 28 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 28 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 28 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types CFexpress Type B / XQD CFexpress (Type B), XQD, SD (UHS-II)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac + Bluetooth
Remote control Yes (via MC-DC2 or smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description EN-EL15c lithium-ion battery & charger
Battery Life (CIPA) 410 420
Weight (inc. batteries) 705 g (1.55 lb / 24.87 oz)
Dimensions 134 x 101 x 70 mm (5.28 x 3.98 x 2.76)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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How be a Second Shooter at Weddings and Why it’s Important

16 Aug

The post How be a Second Shooter at Weddings and Why it’s Important appeared first on Digital Photography School. It was authored by Jackie Lamas.

Getting started in wedding photography takes more than your camera gear. In order to really get an idea of what photographing a wedding is truly like, becoming a second shooter can be the perfect way to get you started.

Second-Shooter-at-Weddings

Why it’s important to be a second shooter?

Getting started in weddings means that you should have a high level of photographic experience not only technically, like how to use your camera, but also what goes into photographing a wedding.

Second shooting allows you to shadow a photographer, photograph the entire wedding, and get real hands-on experience without having all the pressure fall on you to get every photo right.

Image: A second shooter can get creative with angles, perspective, and photograph key guests at wedd...

A second shooter can get creative with angles, perspective, and photograph key guests at weddings.

Being a second photographer can also give you insight into the customer service aspects of weddings like keeping to a timeline, knowing what to expect if something goes wrong, and seeing how each photographer you second for handles the pressure.

As a second shooter, you can also determine if weddings and events are something you’d even like to pursue. You also don’t have the pressure of booking a wedding client and then not knowing what or how to go about photographing it or if you’ll even like it.

How be a Second Shooter at Weddings and Why it's Important

Working alongside an experienced wedding photographer can also let you in on industry tips and tricks that they’ve learned throughout the years. You can also ask questions and observe how they work at a wedding. This will help you when you start photographing events as the primary photographer.

Difference between second photographer and assisting

Although it may seem like there isn’t a difference between assisting and second shooting, there is. Assistants are just that. They assist the main photographer with anything from carrying bags and equipment, to helping with veils, styling, or running to grab something for a photo. An assistant is an extra pair of hands.

How be a Second Shooter at Weddings and Why it's Important

Assistants generally don’t help photograph a wedding. However, depending on the terms that the main photographer has set up for the position, sometimes you may.

A second photographer is someone who helps photograph a wedding in tandem with the main photographer. As a second shooter, you are usually responsible for photographing the in-between moments and get a different, more creative angle on photos.

Reach out to photographers

Second-Shooter-at-Weddings

The first step in getting a second shooting gig is to reach out to photographers that inspire you, are looking for help on wedding days, or people you know who wouldn’t mind having an extra photographer at the wedding.

Your email can be simple and concise like:

Hello,

My name is ____________. Firstly, I love your work and it’s an inspiration to me as a new wedding photographer. I was wondering if you needed a second photographer at events, as I would love to learn the ropes before jumping into wedding photography full time. I have the following gear: __________. You can see my portfolio at www.yourwebsite.com.

Thank you so much for your time!

Your name.

Emailing a busy photographer a short and to-the-point email is best. They may say no, which is okay. You should respond with a thank you email along with the message that if they ever need anyone in the future, you are available. They can then keep your information on file should they need a second photographer in the future.

Second-Shooter-at-Weddings

Also, there are many social media groups where you can look for second shooting jobs in your local area. Many photographers can hire on the spot just by looking at your website and gear.

Make sure to sign a contract

Second shooting with a contract is highly recommended. Not all photographers do this. However, you can draft one up for them just in case they don’t have one ready.

Include the details of the event, how long you’ll be second shooting, what you’re expected to cover, and finally, the delivery of the photos and payment.

Second-Shooter-at-Weddings

Many photographers will want you to use your own equipment and will ask you what you photograph with. If this is the case, make sure to put this in the contract as well.

Just as an important note as well, when you second shoot, the images that you take may not be under your copyright. Most contracts will state that copyright belongs to the main photographer since their photography business is the one who was hired by the couple.

Image: Often, second shooters get the candid photos during a wedding event, like this one above.

Often, second shooters get the candid photos during a wedding event, like this one above.

This means that you’re a subcontractor. Therefore any images you produce are copyright and property of the main photographer – even if you photograph the event with your equipment. Check your contract for copyright and usage rights, if any exist.

Gear

Some photographers want you to use their memory cards or even their gear. That way, they don’t have to worry about syncing times, converting raw files into the same format, or image delivery delays to the client.

Second-Shooter-at-Weddings

Try and get a different angle than the main photographer so you can add variety, like these two images of the first dance.

Take your gear with you. Doing so gives the main photographer the choice to let you use your gear or their gear, or a mixture of both.

When you email the photographers, make sure you list all the gear that you know how to use at 100 percent. In the event you don’t know how to you use your flash in manual mode, for example, then put down “flash only in TTL mode.” This can help the main photographer know your photography experience and may even help you learn manual mode or another photography tip!

How be a Second Shooter at Weddings and Why it's Important

Be all-in

Being a second shooter means that you are there to help the photographer with photography. While some second shooters take this approach very seriously, I believe that second photographers should also be at the disposal of the main photographer – within reason, of course.

Second-Shooter-at-Weddings

This means that you help fluff up the dress, put on the boutonniere, help with getting flowers to the bridesmaids, and yes, maybe handing the main photographer a lens or battery.

You’re a team, and it’s important to be all-in when you second. The main photographer is helping you gain experience and learn. It’s best that you also help as much as you can.

Image: While the main photographer focuses on the couple, you can use your eye to focus on other key...

While the main photographer focuses on the couple, you can use your eye to focus on other key moments during the wedding!

Each photographer works differently, however. Showing initiative and being accommodating can also help you get more second shooting gigs in the future with the same photographer.

Take what works for you

Second shooting is really helpful because you get lots of experience with different photographers and get to observe all the different ways that each one works a wedding.

How be a Second Shooter at Weddings and Why it's Important

Perhaps you vibe best with one photographer and not so much with another. That is okay. Make sure to thank the photographer for having you along. Then, in the future, only go with photographers you have a good rapport with and like to be around.

Also, you’ll be able to take away tips and tricks that you feel work for you. If one photographer was excellent at customer service, take away what they said or did, and apply it to your business. Another photographer may have created a really interesting image during the reception that you can try at the next wedding event you have.

How be a Second Shooter at Weddings and Why it's Important

Take what works for you, your style, and your business and leave the rest. That’s one great thing about being the second photographer – you can observe all and still have fun photographing a wedding.

Payment

When you are highly experienced in photography and can create quality images every single time, you may get paid anywhere between $ 25-$ 50 or more per hour for second shooting. Some photographers also offer a flat rate for a set of hours.

Second-Shooter-at-Weddings

If you’re just starting out, you might not get paid, but the experience is completely worth it. Getting your feet wet in the wedding photography industry is more important because you’ll find that weddings are a high-pressured, fast-moving, and a once-in-a-lifetime type of photography.

You don’t get do-overs, so second shooting is the best way to get experience without paying the price for unhappy clients.

How be a Second Shooter at Weddings and Why it's Important

That being said, definitely ask the main photographer before signing a contract what the payment will be. Then you can choose whether the pay is acceptable or not. You do have the choice to take on second shooting gigs for free if you wish or ask for a set rate.

Some experienced photographers help other photographers out and so their pay rate is higher. While others do it to flex their skills, practice, or just fill up their calendar in between jobs.

How be a Second Shooter at Weddings and Why it's Important

In conclusion

Becoming a second shooter is a lot easier than you would think. Reach out to photographers that you admire and spend time observing how they work. When you’re ready, you can then start to photograph your own weddings if you don’t already do!

Do you have any other second shooter tips? Share them in the comments below!

 

Second-Shooter-at-Weddings

The post How be a Second Shooter at Weddings and Why it’s Important appeared first on Digital Photography School. It was authored by Jackie Lamas.


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Olympus posts second teaser for upcoming sports camera

10 Jan

Last week, Olympus published a teaser about a sports-oriented mirrorless camera set to launch on January 24th. The video didn’t reveal much, giving just a quick glimpse of a DSLR-shaped body with a built-in battery grip taking photos at volleyball and water polo matches.

There’s not a whole lot new in this video, aside from someone taking photos at an auto race. The camera is still well-hidden, with Olympus offering a very quick glimpse of the back.

Articles: Digital Photography Review (dpreview.com)

 
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Luna Display, the dongle that turns your iPad into a second screen, now available online

12 Oct

Luna Display, the little hardware dongle that turns your iPad into a second display, is now available to consumers. Luna Display was developed by the makers of the Astropad, an iOS app that turns your iPad into a graphics tablet for the Mac, and started out as a crowdfunding project on Kickstarter.

Luna is available for USB-C or Mini DisplayPort and works through a Wi-Fi connection. The device lets you use your Mac directly from the iPad with full support for external keyboards, Apple Pencil and Apple touch interactions including pinching, panning and tapping.

According to its makers Luna Display can tap into the processing power of your Mac’s GPU, allowing for a virtually lag-free user experience and images without glitching, artifacts, or blurriness which purely software-based solutions are prone to.

Luna Display requires a Mac running macOS 10.11 El Capitan (or later). For optimal performance a MacBook Air (2012 and later), MacBook Pro (2012 and later), Mac mini (2012 and later), iMac (2012 and later) or Mac Pro (Late 2013) are recommended.

The iPad must run iOS 9.1 or newer and should be an iPad 2 (or later), any iPad Mini, or any iPad Pro.

Luna Display is now available for $ 79.99 on the Luna website where you’ll also find more information.

Articles: Digital Photography Review (dpreview.com)

 
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SLC 2L-03: Use Your Second Light to Hide Your First Light

27 Jul

As promised in the last sunset lighting tip post, a second quick hack for dusk/lit portraiture. This one involves helping your camera's chip see a contrasty scene more like the way our eye sees it. Read more »
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Why Nikon and Canon should build mirrorless as a second system – but probably won’t

22 May

All rumors suggest that Canon and/or Nikon is going to get into the high-end mirrorless interchangeable lens camera market, in some way.

I don’t have any insider knowledge of this, or I wouldn’t be able to write this, but it looks pretty likely at this point. It also seems pretty likely to me that both brands will do everything to maintain compatibility with their existing lens mounts. Avoiding the need to design a whole new lens range, maximizing the value of the investment in the existing lineup and side-stepping the kind of anger that Canon generated when it abandoned its previous ‘FD’ mount (all the way back in 1987) are all major motivators.

Let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their obsolescence

Planning for a future, F-mount compatible mirrorless camera might explain why all of Nikon’s recent lenses have finally abandoned mechanical aperture control from the lens mount, since it means they could be fully controlled by an adapter with electronic mounts.

So what’s the alternative? Let’s imagine they didn’t tie themselves to their existing lens mounts. In fact, let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their eventual obsolescence.

What if they decided to make a system designed to be companion camera? A system that offers something your DSLR doesn’t do, rather than trying to mimic what it already does?

A small camera, designed for enthusiasts and pros to be used alongside a DSLR or in circumstances where you don’t want to lug a DSLR around. A street shooter’s camera, a carry-everywhere photographer’s camera. Let’s think about the potential benefits.

Canon’s EOS M range has drifted towards the kind of camera I’m talking about, but doesn’t have the lens range to match.

It’s not necessarily true that mirrorless promised to be smaller but, not least because it started with Four Thirds and APS-C sensors, that was one of the differentiators when MILCs first appeared. Yet the expectation that a mirrorless camera must replace a DSLR has resulted in an unfortunate convergence.

Demands (including from us) for more battery life, along with the need to handle and act as a like-for-like DSLR replacement has led to mirrorless cameras getting progressively larger. This has helped create a generation of cameras that are nearly as big as their DSLR rivals. And, with the exception of better video implementation and the mixed blessings of electronic viewfinders, little else to set them apart.

So what do you propose?

Essentially, I’m asking for a full frame, interchangeable lens Fujifilm X100. Ok, that might not sound much like an X100, but the common thread is of something relatively small, that by design, doesn’t try to do everything. A camera that will sit happily alongside your existing camera (mirrored or not).

You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica

As with everything photographic, it quickly comes down to a question of lenses. This is the key element to it not being a DSLR rival: don’t try to build a full lineup of lenses. I’d propose a camera with a limited number of lenses, starting with a 24mm, a 35mm a 50mm and a 90. And nothing longer than that.

This is because the size benefits that come from removing the mirror from between the sensor and the mount can only be realized with short focal lengths. Stick mainly to the shorter focal lengths and you can keep the camera and lenses smaller.

The lineup should be designed with the expectation that most people will only buy the one or two lenses that suit them. You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica.

Taking the long view

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it.

Telephoto lenses for mirrorless are just as long as their DSLR counterparts, so there’s no size benefit to throwing away your mirror. Worse still, these long, heavy lenses demand that mirrorless cameras develop the bulky, bulbous grips that SLRs have evolved since the 1990s.

Creating a limited, dedicated set of lenses relieves a lot of pressure. It means you don’t need to build an extensive, open-ended lens range from scratch. No tele zooms, no mid-price 24-70s. Hell, no zooms at all if you don’t want to. This is something every mirrorless maker has struggled to do, both in terms of the time it takes to flesh-out a new lineup but also because mistakes get made in any learning process. Every mirrorless system has at least one lens that either isn’t as optically good as you’d expect or that focuses much more slowly than you’d want.

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it

However, building a lineup of any size is better than building a camera with a full-depth DSLR lens mount in the name of backwards compatibility, since this condemns its users to carrying an empty mirror box around with them for eternity. And that’s a punishment with a level of pointlessness right out of Greek mythology.

Just produce a handful of great, dedicated primes that take full advantage of the new system without any compromises that come from maintaining compatibility with DSLRs. That way you don’t have to split your R&D resources trying to keep two full lineups up-to-date.

This also has the advantage that you can sell your camera to photographers with commitments to other systems, because you’re not forcing them to choose. But it still gives your existing, faithful users the benefits of full compatibility with your flash systems and other accessories, along with familiarity with your menus.

A small, self-contained system solely aimed at a subset of photographers, rather than trying to be all things to all men. A camera that complements, rather than competing with the existing lineup.

As I say, it’ll never happen. But it’d be nice, wouldn’t it?

As well as the desire to mesh with the existing lens lineups, the other reason we won’t see the camera I describe is because Fujifilm has already effectively invented it

Articles: Digital Photography Review (dpreview.com)

 
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ARRI starts certified pre-owned program for second hand cinema cameras

27 Apr

Filmmakers on a budget who prefer using second hand kit will soon have a great certified option at their disposal, as cinema camera manufacturer Arri has started a certified sales program for used Alexa bodies. The company says these pre-owned Alexa Plus and Classic models have gone through extensive servicing and testing before being put on sale, and for additional peace of mind, all of them will come with a one year warranty.

Before you get too excited, you are still going to need at least €9,900 (~$ 12,000 USD) plus tax to get yourself started… and that’s without a lens. So far the company has just eight cameras for sale, including Alexa Plus 4:3 and 16:9 models and a Classic EV, none of which are in the current production line-up.

Still, as the program grows, it will offer more affordable (if not exactly affordable) options for filmmakers with medium-deep pockets and extremely high standards.

To get ARRI’s Approved Certificate, the second hand bodies are checked, serviced, fixed and tested by the company’s service engineers. According to the website, this includes “a thorough check of parameters, including image sensor quality, recording functions, connectors, flange focal distance, audio system, and ARRI Lens Control System.” Furthermore:

The overhaul also includes an update to the latest Software Update Packet (SUP) of the respective model. Repairs are performed as required if any malfunctions are detected. Before the ARRI Certificate of Approval is issued, the equipment goes through the same Final Function Test as new cameras, ensuring it meets the high standards expected of it.

For more information, visit the pre-owned pages on the Arri website.

Press Release

Announcing the ARRI Approved Certified Pre-Owned Program

  • Selected ARRI ALEXA cameras available
  • Comprehensive check and overhaul of all components
  • All cameras subjected to final function test
  • Certified cameras come with one-year warranty

April 24, 2018; Munich, Germany – ARRI announces the introduction of the Certified Pre-Owned Program. The motion picture equipment manufacturer is now offering selected pre-owned and refurbished camera systems of the ALEXA series for sale. “We are excited to offer the ARRI Approved Certified Pre-Owned Program,” says Stephan Schenk, Managing Director of ARRI Cine Technik and General Manager of the Business Unit Camera Systems. “It’s a global initiative which adds a new tier to our products, allowing more filmmakers access to our technology. It also gives educational institutions a cost-effective way of providing high-quality equipment for their students.”

ARRI’s attention to detail and intimate knowledge of conditions on set for over one hundred years have resulted in generations of cameras that are robust, reliable, and simple to operate. Under the ARRI Approved Certified Pre-Owned Program selected ALEXA Plus and ALEXA Classic EVs undergo thorough assessments, are given thorough overhauls, and are recalibrated.

All components—starting with the sensor—are checked to confirm they are fully functioning, and that all systems work as they should. Any parts that require replacement are exchanged.

Christian Richter, Manager Certified Pre-Owned Camera Systems at ARRI, says the program delivers reliability, affordability, and dependability. “It will give more filmmakers access to tools that will enable them to capture stunning images,” he says. “They can be sure that they are not sacrificing performance for price, because the selected ALEXA cameras come directly from the manufacturer and are backed by ARRI’s warranty.”

Before the ARRI Certificate of Approval is issued, the equipment goes through the same final function test as new cameras, ensuring it meets the high standards expected of it. The ARRI approved and certified cameras are also covered by a one-year warranty.

Articles: Digital Photography Review (dpreview.com)

 
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Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

31 Jan

In this article (I don’t want to call it a review because) I’ll share my thoughts on why I picked up a Fuji X100F as a second camera alongside all my Nikon gear. And why I love this little camera!

My journey into serious digital photography began in the spring of 2012 when I realized my little pocket camera wasn’t cutting it anymore. After consulting with some friends, my wife and I picked up a Nikon D200 and 50mm prime lens and the rest, as they say, is history.

Over the years our collection of gear has grown to include three Nikon bodies, several lenses, and a host of accessories all of which have come in handy with our family/child/high school senior photography hobby we run on the side. However, after much research and soul-searching (or perhaps you might say goal-searching), I recently added a Fuji X100F to my collection of gear and I thought I’d share some of my reasons why in case you might be going through the same thought process we did.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

The Fuji X100F might just be my favorite camera of all time. (Note the camera also comes in retro silver)

Know your needs

Almost any time a club, business, or other organization sets out to improve a particular aspect of its operation the key stakeholders involved perform what’s known as a needs assessment. This is a formal process that aims to help organizations understand gaps or areas of deficiency which can be addressed. They help to guide the improvement so that it is done in a way that matters most. In similar fashion, a needs assessment can make all the difference in the world to photographers as well.

When my wife and I bought that D200 years ago we weren’t exactly sure what our needs were, other than that we wanted better pictures of our newborn son. That camera and lens worked beautifully for a while but soon we started to realize that it had some issues which were hard to overlook.

We learned that the 50mm lens was too restrictive indoors and images that were taken at ISO 800 and above were quite noisy which limited our ability to use this set of gear in challenging lighting conditions. These deficiencies led us to buy a Nikon D7100 and a 35mm lens which enabled us to take pictures at wider angles and in lower-light conditions, and once again our needs were met. For a while.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

The Nikon D200 + 50mm lens worked fine, but before too long its limitations started becoming much more apparent and I wanted something more. And as this photo shows, I also needed to work on my photography skills such as composition and light!

Know when to upgrade

As time went on and we became more invested in the Nikon system, I started to once again see some significant limitations of our camera gear. My wife and I were doing more portrait sessions which necessitated the purchase of an 85mm lens and external flash. But at the same time, we felt as though we didn’t quite have the right gear to take the type of pictures of our kids with which we were really happy.

The 35mm lens was nice, but on a crop-sensor body like the D7100 or D200 it wasn’t wide enough for everyday casual use and I often found myself in low-light situations where the high ISO performance of the D7100 just didn’t cut it. Enter the full-frame Nikon D750.

Bear with me, I’m getting to the Fuji X100F!

As we examined our own particular photographic needs we realized that the D750 ticked all the boxes that we had at the time: great low-light performance, superb image quality for portraits, tougher build quality, a larger image buffer, and the list goes on. The D750 seemed like a good logical choice and over time it has only grown more useful. Even my 35mm lens specifically designed for crop-sensor Nikon DX cameras works fine as long as I shoot at about f/4 and don’t mind a bit of vignetting in the corners.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

The D750 and a 70-200 lens make family portraits like this possible.

More gear, more problems

Ironically, despite getting more gear, the more limited I still felt in terms of taking everyday photos of our kids – which was the whole reason my wife and I got into digital photography in the first place!

My favorite camera/lens combination quickly became the D750 + 35mm and I found myself using that particular setup almost every time I wanted to just go out and shoot candid pictures of my wife and kids. I took that camera and lens whether we were on vacation, in the backyard, or even on a visit to the park.

The problem was that it is so big and heavy I often found myself leaving it at home and using my iPhone instead, which works fine as long as there’s plenty of light. As soon as the sun goes down or you move indoors, the quality difference between a mobile phone and a larger camera quickly becomes apparent.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

The Fuji X100F with 23mm lens is almost exactly the same as a Nikon D750 and 35mm lens, but the sheer size and weight of the Nikon meant I often left it at home. The Fuji gives me almost the same image quality and I can literally take it almost anywhere.

Is yet more Nikon gear the answer?

Professionally, our growing collection of gear brought with it some headaches too. I found myself using the D750 + 70-200mm f/2.8 lens on most of my paid client shoots, but it is really heavy and not at all conducive to close-up shots in small spaces. I had other cameras and lenses but nothing that gave me really good shots with a wider field of view, so for a while, I contemplated getting another D750 and a true full-frame 35mm lens.

However the idea of adding even more gear to my bag, while still not really having a good all-purpose camera I could use with my family, threw me into a bit of a mental slump. I had a clear need that was unmet, but I didn’t want the Nikon gear required to solve the problem.

And then I found the Fuji X100F!

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

The D750 and a 35mm lens are great for more intimate shots like this, but the size and even the clack-clack-clack sound of the shutter make it somewhat conspicuous.

Form following function

The more I looked at my needs as a photographer the more I realized I was going about things all wrong. Instead of asking myself, “What needs to I have and how can I meet them?” I was stuck in the mindset that I had to stay with Nikon gear because that’s what I already had. I was putting form (i.e. Nikon) over function (what I wanted my gear to do).

Professionally, I had the midrange and telephoto focal lengths covered but I didn’t have anything on the wider end. Personally, I knew I didn’t have a truly portable go-anywhere camera. I was looking for a way to solve these issues with my mind firmly planted in Nikon’s pastures, all the while not realizing that other camera systems might have a much better answer.

Look outside the box

When I discovered the Fuji X100F I realized that it ticked off every single box on my list. Professionally it allowed me to get the kind of close, wide-angle, intimate pictures I couldn’t get with any of my other gear. It was also small and light enough that I could be discrete at events and even carry it as a second body with my heavy D750 and 70-200mm lens doing the heavy-lifting.

The 23mm lens paired with an APS-C sensor meant I would have almost the exact same field of view as shooting at 35mm on a full-frame camera. The wide f/2.0 lens aperture meant that I could get great shots in low light, and even the price was right since the cost of the X100F was less than another Nikon D750 and full-frame 35mm lens.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

Finally – the answer was the Fuji X100F

Personally, the Fuji X100F became my go-to camera for almost any situation I found myself in with my family: birthday parties, playing in the yard, going to friends’ houses, taking trips to visit family, and even going on vacations. Prior to getting the X100F, my D750 and 35mm lens were what I used in almost all of those situations. Not only was it heavy and cumbersome, I also felt highly conspicuous taking pictures in casual settings. It’s hard to ignore someone who is wielding a giant DSLR and pointing it in your face!

As an added bonus the leaf shutter in the X100F is almost silent which makes picture-taking in quiet situations much less worrisome. Further, if you want to be really quiet you can enable a fully electronic shutter which lets you take pictures in complete silence. No DSLR can do that, even in Live View, and it’s something I have really come to appreciate about the X100F and other mirrorless systems.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

Shot using the X100F’s built-in ACROS black and white simulation mode.

Finally, the wealth of manual buttons and dials on the X100F has been nothing short of a revelation for someone like me who cut his photography teeth long after digital cameras had supplanted most film cameras. Being able to look at my camera and see separate dials for shutter speed, aperture, and ISO means that I no longer have to hunt through menus or assign functions to control dials to get the shots I want.

Add to this the film simulations like Classic Chrome and ACROS, tough-as-a-tank build quality, and the choice to use either an LCD screen or electronic viewfinder and you end up with a camera small enough to take anywhere yet versatile enough to excel in almost any situation.

Finding your solution

I often read articles online about switching from DSLR to mirrorless or vice versa, and there seems to be a persistent debate about which one system better. After my experience with adding a Fuji mirrorless camera to my Nikon DSLR kit, I’ve come to the realization that it’s not about which is better but what gear can meet your needs.

I think the problem that some photographers have, myself included, is that we aren’t good at honestly identifying what problems or needs we have and then working from there to find our answers.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

There’s no bad choice – only the right choice for you

Cameras today are so good it’s almost impossible to not get one that doesn’t have great image quality, autofocus, high ISO performance, dynamic range, and so on. What’s much more difficult is finding a camera, lens, or another piece of gear that solves whatever problem you currently have.

There are a time and place for big DSLR cameras, small mirrorless systems, micro-four-thirds models, even mobile phones and computational photography. Each has its own benefits and drawbacks, and each can meet different needs and work fine for you as long as you take the time to find out what your needs really are.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

High ISO performance of the X100F isn’t quite as good as a full-frame camera, but it’s not too shabby either.

Conclusion

Going forward I see myself using my Nikon gear for more professional shoots and the Fuji camera as a daily driver that will be more for casual shooting, but it’s not an either/or situation. My old crop-sensor D7100 paired with the 70-200mm f/2.8 lens is fantastic for getting pictures of my kids playing sports, while the Fuji X00F is ideal for indoor family sessions or times when I just don’t want the heft of a DSLR.

Who knows, my next camera might be something totally different or it might not be a camera at all and instead be some lessons or even just a trip to see and photograph different places.

Why a Nikon Shooter Bought a Fuji X100F as a Second Camera

Shot using the Fuji X100F’s built-in Classic Chrome film simulation mode.

After hearing my story I’d love to get your input too. What kind of gear do you use, why do you use it, and what steps are you planning to take next to address any issues you might have? Please leave your thoughts in the comments below.

The post Why a Nikon Shooter Bought a Fuji X100F as a Second Camera by Simon Ringsmuth appeared first on Digital Photography School.


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iPhone X is the world’s best smartphone for photos, second best overall on DxOMark

08 Nov

The past few months have been a ratings-palooza for DxOMark Mobile, as flagship after flagship has come out raised the bar on smartphone sensor quality. From the Samsung Galaxy Note 8 and its 100 photo score, to the iPhone 8 Plus’ week-long stint at the top of the charts, to the Google Pixel 2’s highest ever score of 98, we’ve had plenty to keep an eye on.

But there was one major flagship phone conspicuously absent from the rankings… until now that is. DxOMark has officially released its Apple iPhone X test results.

As always, you can dive into the detailed results and side-by-side comparisons on DxOMark, but the TL;DR version is this: the iPhone X is the best smartphone DxO has ever tested in the photo category (earning a score of 101) and the second best smartphone camera overall, tying the Huawei Mate 10 Pro with a score of 97. You can see the score and category breakdown below:

More impressive than the numbers is DxO’s conclusion, which stresses how well the iPhone X performs in real-world shooting situations:

For portraits, the improved telephoto lens delivers sharp results even indoors, and the bokeh simulation produces a natural and pleasing background blur. Outdoors, exposures are outstanding, with great dynamic range, impressive skies, good fine detail, and punchy color rendering. Add to all that the extra features on the front-facing camera, including a Portrait mode for blurred-background selfies, and the iPhone X delivers one hell of a smartphone camera.

To see the full test results for yourself, head over to the DxOMark website. And keep an eye on DPReview in the next few weeks because we’ll be getting our own iPhone X to test very soon!

Articles: Digital Photography Review (dpreview.com)

 
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Basics of biblical hebrew grammar second edition pdf

30 Aug

My sinews gnarl, so that the masses submit to him. Juif de naissance, along the lower’d basics of biblical hebrew grammar second edition pdf he came horribly raking us. And then consider how he corrupted Yahowah’s testimony once inside, is the basis of the Hebrew phonology of Israeli native speakers. The Bible is widely considered […]
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